Act III, Scene ii, line 13-25
This paragraph is from Macbeth written by William Shakespeare. Macbeth just hired killers to murder Banquo who might know about Macbeth having killed the king. In this passage, Macbeth is trying to say to his wife “We don’t have to worry”, although he is even more scared than she is. He still tries to find an excuse for his conscience because of his treason and his deed. Already in the first line, there is a metaphor “snake”. The “snake” symbolized treason. Treason is also a personification towards the end, where it says “Treason has done his worst”. By this, Macbeth tries to distance himself from his deed, his treason in order to not feel guilty. Treason plays a big role in the book, but also in this passage which is shown in the literary features and as well in the content of the passage: Macbeth admits that he betrayed the king by killing him.
Mittwoch, 10. Juni 2009
Mittwoch, 3. Juni 2009
Macbeth's morality
At the beginning of the book, Macbeth was absolutely loyal to the king. He would have done everything to save the king's life and wouldn't have even thought about killing him. But the witches' prophecy made him doubt his loyalty. After the first part of the prophecy came true: Macbeth was announced Thane of Cawdor through the King, Macbeth started to think about believing in the prophecy. When Duncan announced his son his heir to the throne, the second part of the prophecy: Macbeth would become King of Scotland, couldn't come true; except for one way: Macbeth would have to kill Duncan. At first, this way was out of question, but he couldn't stop thinking about it since the human nature is to desire more and more. Besides, his wife Lady Macbeth pushed him all the time and influenced him a lot. Over and over again, he weighed both sides, but his human nature and Lady Macbeth's desire to become queen and her pushing led to his decision to kill the king. After his deed, he felt extremely guilty and regretted it. He now was paranoid that someone could have seen him or could suspect him. This one person that could suspect him was Banquo since he was with him during the witches' prophecy. Out of fear, but also out of anger since the witches prophesied that Banquo's sons would become king after Macbeth, Macbeth decided to kill Banquo and his sons. But this time, he didn't feel guilt or any pangs of conscience. Instead, he hired two killers to kill them. For this decision, the anger was a new feeling that influenced him a lot. His inner transformation from a moral and loyal person to a greedy and unmoral tyrant and the not being able to stop from desiring more and more are described in the book up to this point (Act 3, Scene 1).
Mittwoch, 22. April 2009
Adoption of a book
What is important when you adopt a book?
First of all you have to understand the main ideas and the "message" the author wants to give in his book. It's important to know about the themes, the motives and the symbols. The author did everything on purpose, e.g. put the scenes in a special order, use of different symbols, created every character the way he did because he wants to show something special and as producer and director who are adopting a book, you absolutely have to know what he wants to show in every scene, with every action and situation he created in his book. This is important because then you can think about how to show this in the film; which symbols you use and how to put them. After understanding all about the book and the author's purposes, you can also find the right cast and the right location. But as producer you also have to think about that the people want to have some action and dramatic scenes. You have to combine it in the right way.
First of all you have to understand the main ideas and the "message" the author wants to give in his book. It's important to know about the themes, the motives and the symbols. The author did everything on purpose, e.g. put the scenes in a special order, use of different symbols, created every character the way he did because he wants to show something special and as producer and director who are adopting a book, you absolutely have to know what he wants to show in every scene, with every action and situation he created in his book. This is important because then you can think about how to show this in the film; which symbols you use and how to put them. After understanding all about the book and the author's purposes, you can also find the right cast and the right location. But as producer you also have to think about that the people want to have some action and dramatic scenes. You have to combine it in the right way.
Montag, 20. April 2009
Piggy's death
How does his death contribute to the symbolism of the boys' descent toward savagery ?
Roger rolls a rock down the hill killing Piggy, in fact on purpose. Long before Piggy's death Roger, "picked up a stone, aimed, and threw it at Henry- threw it to miss" (p.78, l. 8). He threw the stone, but he knew that it was wrong. That's why he "threw to miss" (p.78,l.9). But living in the wilderness made him lose the feeling that it's wrong to hurt and also kill someone on purpose. He doesn't feel bad for killing someone any more. Losing that feeling made him a unpredictable, barbaric person. These are characteristics of a person that lives in total savagery. So the murder of Piggy shows that the inhibition threshold of the boys falls extremely.
Roger rolls a rock down the hill killing Piggy, in fact on purpose. Long before Piggy's death Roger, "picked up a stone, aimed, and threw it at Henry- threw it to miss" (p.78, l. 8). He threw the stone, but he knew that it was wrong. That's why he "threw to miss" (p.78,l.9). But living in the wilderness made him lose the feeling that it's wrong to hurt and also kill someone on purpose. He doesn't feel bad for killing someone any more. Losing that feeling made him a unpredictable, barbaric person. These are characteristics of a person that lives in total savagery. So the murder of Piggy shows that the inhibition threshold of the boys falls extremely.
Dienstag, 31. März 2009
10 words
10 unfamiliar words with explanation:
opalescence -
1. A reflection of a milky or pearly light from the interior of a mineral, as in the moonstone; the state or quality of being opalescent.
2. the visual property of something having a milky brightness
unease -
1.
not easy in body or mind; uncomfortable; restless; disturbed; perturbed.
2.
not easy in manner; constrained; awkward.
3.
not conducive to ease; causing bodily discomfort.
eager -
–adjective
1.
keen or ardent in desire or feeling; impatiently longing: I am eager for news about them. He is eager to sing.
2.
characterized by or revealing great earnestness: an eager look.
3.
Obsolete. keen; sharp; biting.
sombre -
–adjective
1.
gloomily dark; shadowy; dimly lighted: a somber passageway.
2.
dark and dull, as color, or as things in respect to color: a somber dress.
3.
gloomy, depressing, or dismal: a somber mood.
4.
extremely serious; grave: a somber expression on his face
gyration -
the act of gyrating; circular or spiral motion; revolution; rotation; whirling.
parody -
1.
a humorous or satirical imitation of a serious piece of literature or writing: his hilarious parody of Hamlet's soliloquy.
2.
the genre of literary composition represented by such imitations.
3.
a burlesque imitation of a musical composition.
4.
any humorous, satirical, or burlesque imitation, as of a person, event, etc.
5.
the use in the 16th century of borrowed material in a musical setting of the Mass (parody Mass).
6.
a poor or feeble imitation or semblance; travesty: His acting is a parody of his past greatness.
mutter -
1.
to utter words indistinctly or in a low tone, often as if talking to oneself; murmur.
2.
to complain murmuringly; grumble.
3.
to make a low, rumbling sound.
assert -
1.
to state with assurance, confidence, or force; state strongly or positively; affirm; aver: He asserted his innocence of the crime.
2.
to maintain or defend (claims, rights, etc.).
3.
to state as having existence; affirm; postulate: to assert a first cause as necessary.
carcass -
–noun
1.
the dead body of an animal.
2.
Slang. the body of a human being, whether living or dead.
3.
the body of a slaughtered animal after removal of the offal.
4.
anything from which life and power are gone: The mining town, now a mere carcass, is a reminder of a past era.
5.
an unfinished framework or skeleton, as of a house or ship.
6.
the body of a furniture piece designed for storage, as a chest of drawers or wardrobe, without the drawers, doors, hardware, etc.
7.
the inner body of a pneumatic tire, resisting by its tensile strength the pressure of the air within the tire, and protected by the tread and other parts.
–verb (used with object)
8.
to erect the framework for (a building, ship, etc.).
dribble -
–verb (used without object)
1.
to fall or flow in drops or small quantities; trickle.
2.
to drivel; slaver.
3.
Sports. to advance a ball or puck by bouncing it or giving it a series of short kicks or pushes.
–verb (used with object)
4.
to let fall in drops.
5.
Sports.
a.
Basketball. to bounce (the ball) as in advancing or keeping control of it.
b.
(esp. in ice hockey and soccer) to move (the ball or puck) along by a rapid succession of short kicks or pushes.
opalescence -
1. A reflection of a milky or pearly light from the interior of a mineral, as in the moonstone; the state or quality of being opalescent.
2. the visual property of something having a milky brightness
unease -
1.
not easy in body or mind; uncomfortable; restless; disturbed; perturbed.
2.
not easy in manner; constrained; awkward.
3.
not conducive to ease; causing bodily discomfort.
eager -
–adjective
1.
keen or ardent in desire or feeling; impatiently longing: I am eager for news about them. He is eager to sing.
2.
characterized by or revealing great earnestness: an eager look.
3.
Obsolete. keen; sharp; biting.
sombre -
–adjective
1.
gloomily dark; shadowy; dimly lighted: a somber passageway.
2.
dark and dull, as color, or as things in respect to color: a somber dress.
3.
gloomy, depressing, or dismal: a somber mood.
4.
extremely serious; grave: a somber expression on his face
gyration -
the act of gyrating; circular or spiral motion; revolution; rotation; whirling.
parody -
1.
a humorous or satirical imitation of a serious piece of literature or writing: his hilarious parody of Hamlet's soliloquy.
2.
the genre of literary composition represented by such imitations.
3.
a burlesque imitation of a musical composition.
4.
any humorous, satirical, or burlesque imitation, as of a person, event, etc.
5.
the use in the 16th century of borrowed material in a musical setting of the Mass (parody Mass).
6.
a poor or feeble imitation or semblance; travesty: His acting is a parody of his past greatness.
mutter -
1.
to utter words indistinctly or in a low tone, often as if talking to oneself; murmur.
2.
to complain murmuringly; grumble.
3.
to make a low, rumbling sound.
assert -
1.
to state with assurance, confidence, or force; state strongly or positively; affirm; aver: He asserted his innocence of the crime.
2.
to maintain or defend (claims, rights, etc.).
3.
to state as having existence; affirm; postulate: to assert a first cause as necessary.
carcass -
–noun
1.
the dead body of an animal.
2.
Slang. the body of a human being, whether living or dead.
3.
the body of a slaughtered animal after removal of the offal.
4.
anything from which life and power are gone: The mining town, now a mere carcass, is a reminder of a past era.
5.
an unfinished framework or skeleton, as of a house or ship.
6.
the body of a furniture piece designed for storage, as a chest of drawers or wardrobe, without the drawers, doors, hardware, etc.
7.
the inner body of a pneumatic tire, resisting by its tensile strength the pressure of the air within the tire, and protected by the tread and other parts.
–verb (used with object)
8.
to erect the framework for (a building, ship, etc.).
dribble -
–verb (used without object)
1.
to fall or flow in drops or small quantities; trickle.
2.
to drivel; slaver.
3.
Sports. to advance a ball or puck by bouncing it or giving it a series of short kicks or pushes.
–verb (used with object)
4.
to let fall in drops.
5.
Sports.
a.
Basketball. to bounce (the ball) as in advancing or keeping control of it.
b.
(esp. in ice hockey and soccer) to move (the ball or puck) along by a rapid succession of short kicks or pushes.
Montag, 30. März 2009
Imitation
"Smoke! Smoke!"
Simon tried to sit up in the water and got a mouthful. Maurice, who had been standing ready to dive, swayed back to the grass under the palms. There he started to pull on his tattered shorts, to be ready for anything. Ralph stood, one hand holding back his hair, the other clenched. Simon was climbing out of the water. Piggy was rubbing his glasses on his shorts and squinting at the sea. Maurice had got both legs through one leg of his shorts - of all the boys, only Ralph was still.
"Party! Party!"
Kathleen tried to sit up in the couch and choked a popcorn. Camille, who had been standing ready to sit, swayed back to the floor onto the carpet. There she tried to put on her fluffy slippers, to be comfortable for TV-watching. Olivia laid, one hand brushing through her hair, the other supporting. Kathleen was getting up from the couch. Silvia was rubbing her ears with her hands and starring at the one screaming. Camille had got both feet under one part of the carpet - of all the girls, only Olivia was lying.
Simon tried to sit up in the water and got a mouthful. Maurice, who had been standing ready to dive, swayed back to the grass under the palms. There he started to pull on his tattered shorts, to be ready for anything. Ralph stood, one hand holding back his hair, the other clenched. Simon was climbing out of the water. Piggy was rubbing his glasses on his shorts and squinting at the sea. Maurice had got both legs through one leg of his shorts - of all the boys, only Ralph was still.
"Party! Party!"
Kathleen tried to sit up in the couch and choked a popcorn. Camille, who had been standing ready to sit, swayed back to the floor onto the carpet. There she tried to put on her fluffy slippers, to be comfortable for TV-watching. Olivia laid, one hand brushing through her hair, the other supporting. Kathleen was getting up from the couch. Silvia was rubbing her ears with her hands and starring at the one screaming. Camille had got both feet under one part of the carpet - of all the girls, only Olivia was lying.
Dienstag, 24. März 2009
physiological needs
What have the boys done to take care of their physiological needs? (cahpter 1 and 2)
Some parts of the physiological needs are already given: O2 and water. There is a lagoon with none salt water so they can actually drink the water. There are pigs, animals to hunt on the island and they've also find fruit. One of the first things they set up was a hunting group, so they get food, meat. But when they saw the pig which was caught in a bush, Jack ( but everybody understood why he couldn't, so they couldn’t have either) couldn't kill the pig at once. Jack hesitated and the pig ran away. So they don't have food; just some fruits the little children found on their way to the top of the mountain.
Some parts of the physiological needs are already given: O2 and water. There is a lagoon with none salt water so they can actually drink the water. There are pigs, animals to hunt on the island and they've also find fruit. One of the first things they set up was a hunting group, so they get food, meat. But when they saw the pig which was caught in a bush, Jack ( but everybody understood why he couldn't, so they couldn’t have either) couldn't kill the pig at once. Jack hesitated and the pig ran away. So they don't have food; just some fruits the little children found on their way to the top of the mountain.
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